9 Decoding and Marking Orchestral Parts • 9.23 Divisi: “Which Part Should I Play?
” 493
Part 9
Decoding and Marking Orchestral Parts
A Manual of Orchestral Notation and Performance Practice
9.23 “Which Part Should I Play?” • Strategies for Dividing the Violins
 Tables 11.4a and 11.5: solo passages for various positions •
Wulfhorst 2013, Ch. 15: foreign terms and abbreviations •
Del Mar 1983, 36–44
Some issues regarding the division of the violins in an orchestra
concern primarily concertmasters, principals, and conductors.
But all players should read this downloadable chapter in its entirety
so that they understand the principles, know how to mark their
parts, and can ask appropriate questions.
Section size • Note that it takes ten players to double the
loudness of one ( Beament 1997, 154). The main benefit of a
larger section is a smoother, more homogeneous sound quality;
the main drawback, however, is the difficulty of achieving perfect
rhythmic precision and clear articulation.
Today the the second-violin section is generally the same size
as the first-violin section, minus one stand (or, more rarely, minus
one player). In medium to large halls and opera houses, seating
audiences between 800 and 2000, the common ratio between first
and second violins is as follows:
• 18/16 (18 firsts and 16 seconds) for Bruckner and Mahler
• 16/14 for most symphonic repertoire of the 19th and 20th
centuries, as well as for the operas of Wagner and Strauss
• 14/12 for 19th- and 20th-century concerto accompaniments,
for most 19th-century operas, and for oratorios with large
choirs
• 12/10 or 10/8 for Classical symphonies, Classical concerto ac-
companiments, Classical operas, bel canto operas, and orato-
rios with small or medium-sized choirs.
Common chamber-orchestra ratios are: 8/7, 8/6, 7/6, 6/5, 5/4,
4/3 and 3/3.
Some repertoire requires non-standard section divisions:
• For Baroque and Classical repertoire, some period-instrument
specialists have returned to the 18th- and 19th-century tra-
dition of same-sized first- and second-violin sections. Some
works by Berlioz, Wagner, Debussy, and Strauss explicitly re-
quire this.
• Pieces in Viennese waltz style sound best if one moves one
stand from the seconds to the firsts (16/10 instead of 14/12, or
14/8 instead of 12/10): in this music the seconds merely pro-
vide the accompaniment, and the firsts often play the melody
divisi in thirds or octaves.
©Martin Wulfhorst, The Orchestral Violinist’s Companion, 2012 (To order the book visit www.orch.info)
• In Strauss’s, Aus Italien/iii, Zarathustra, or Salome, each of the
two violin sections is subdivided into groups A (usually the
four front stands) and B (the four back stands).
• In the Pifa from Handel’s Messiah, Wagner’s Siegfried I/3,
Strauss’s Josephslegende and Elektra, Shostakovich’s Symphony
5/iii, and Britten’s Dream III the two violin sections are tem-
porarily or permanently divided into three equal groups. Bar-
tók’s Music has four violin parts.
• Fauré’s Requiem, Stravinsky’s Capriccio, Weill’s Mahagonny
and Symphony 1, Schoeck’s Horn Concerto, and a few other
pieces feature only a single violin part.
• Bach’s St. Matthew Passion, J. C. Bach’s Double Symphonies,
and some works by Bantock, Martin, Tippett, and Vaughan
Williams use two full string orchestras, situated against each
other.
• In numerous 20th-century pieces, each stand or player per-
forms from a separate part. Strauss’s Metamorphoses, for in-
stance, require ten solo violins.
• There are even a few notorious pieces without any vio-
lins: Brahms’s Serenade no. 2, Hindemith’s Schwanendreher,
Stravinsky’s Symphony of Psalms, Honegger’s Roi David, Du-
tilleux’s Timbres.
For any non-standard division, the principal players, together
with the conductor, must develop strategies for the assignment
of parts and, if necessary, for seating; these must be based on the
way the individual groups are used in the score, the strengths of
the players, and the acoustics of the hall (Ch. 8.12). For instance,
for the works or passages with with three violin parts listed above,
the parts should be assigned so that the musicians playing the
same part are sitting closely together:
• Group I comprises the outside stands of the first violins.
• Group II comprises the first two stands of the second violins
and the remaining stands of the firsts.
• Group III comprises the remaining stands of the seconds, with
one of the principals positioned strategically.
Many operatic works include music played onstage or in the
wings; these passages are usually printed in separate parts, though
they may appear in the parts for the pit, too ( Table 11.5/D). The
concertmaster or conductor should assign one or more soloists, as
needed, and decide, in cooperation with the stage director, where
they should sit or stand or whether the music needs to be taped.
494 9 Decoding and Marking Orchestral Parts • 9.23 Divisi: “Which Part Should I Play?”

Solo, soli, tutti • In string parts, solos such as those listed in
Tables 11.4a–11.5 are usually marked “solo” or “soli” (addition-
al labels are listed in Wulfhorst 2012/14). Accompanying parts
for the remainder of the section are usually marked “gli altri,” “die
übrigen” (the others), and so on. But be careful: the marking “soli”
can sometimes signal a prominent, exposed, or difficult passage
that should be played by the full ensemble:
a • Even though this passage is marked “soli” by the composer
or editor, it should be played by the entire first-violin section.
The term indicates an important, exposed thematic statement.
b • The term soli, added here by the players, indicates that the
tricky passage is exposed and every note will be heard. The
9-23a-h [2-16m March 11, 110%
label is especially helpful when an exposed passage follows a
loud or “safer” texture, as it does here (and in many other
examples in Parts 3–9).
In concertos the term solo indicates passages where the soloist
dominates. (In Dvořák’s Cello Concerto/iii 11  and 14  , however,
“solo” indicates a true solo for the concertmaster.) In solo passages
of 18th-century concertos, some period-instrument specialists
have revived the 18th-century practice of reducing the string section.
Modern examples of the same practice are found in Walton’s con-
certos: the passages marked with hooks ( ) should be played
with a reduced violin section.

5 ≤≤ ≤≤ ≤ œ≤. 1
!
Allegro assai moderato q = 63
1
####
Ó Œ n œ. œ. n œ. œ œ œ. œ # œ œ œ. œ œ. œ. œ œ. n œ. œ. œ ~~~
a ta
1 4 corda (Soli) 4

& #c
œ œœœ œœ œ Œ Ó .. . .. . .
Verdi

off∏assai piano
Ballo I/Prel.

∏
strings, ww. (strings: fugato) e stacc.

œœ œ œ œœ œœœ œ œœ œœœ œ œœ œœœ œœ œœ œ

All.o agitato assai vivo [h = 80]
bb b b C ww w ≤ j
b 4 2 3
w n œ b œ œœœ œ œj‰ j œ œ œ ‰ ~~~
‰ ‰
28
Verdi
& b @ @
Traviata II/7
ƒ a tempo 3
44 œ nœ œ œ œ
soli (to be doubled by the 2nd violins) p
≤
Etwas ruhiger [q = 96] a tempo

-œ
c
. œ.
Rit. 4
The notation of divisib passages
b 3have marked the beginning and end of œ
œœ Œ Œ ‰ J f – i • (3) The composer specifies which stands or players are
150 get. zus.

Symphony 5/II/3 & 4

Mahler

œœ π
c • Ideally, composers

p
a passage for divided violins with abbreviations
pizz. arco such as “div.” playing the parts:
and “unis.” or their German or French equivalents zart (here f • “The first [= outside] players of all stands alone” is a

-
“geteilt” and “zusammen”). Check for omissions and misprints more precise way of saying “half the section.” Wagner and

n˙.
of such markings and Rêveusement
add them if theylent are qmissing.
= 50 Mahler meant the same with the phrases “erster Spieler”
d
≤ ∑
I/m. 1) and “alle 1. Spieler” (Symphony 3/vi 4  ).
b b b and ∑ ∑ ∑
Composers may indicate section
La moitiŽ divisions in various manners, (Parsifal
Œ n˙.
1 TOUS div.

& bforb bthe cassignment

w w w w
leaving sometimes more sometimes less freedom to the con- g • The third and fourth stands divide the two parts, either
Debussy

π π-
ductor and players
Rhapsodie of parts: by player or by stand.
d • (1) The composer vn. 2 specifies or implies the number of groups h • The numbering system is very precise. You will only need
Sourdine
into which the section should be split: div. a 2, prima metà, 2. to decide from the context whether the numbers refer to
Hälfte, etc. Players and conductor must decide whether here, stands or players, and then mark your part accordingly.
for instance, “la motié” (half the
Rubato [q =section)
ca. 100] refers to the outside Given that the section size in this piece is sixteen players,
(≤ ) ≤ ≤ ≤ ≤
e
≤ ≤
players, the inside sur la touche
players, the front stands, or the back stands the numbers system surely refer toa the stands.
Tempo
1
q = 112
3
œ- œ . œ- œ- œ- œ- œ œ- œ œ œ.
2 i • Given that the stipulated 4section
œ- œ . œ- œ- œ œ . œ œ œ œ
3
59 -2
2
of the section. size is sixteen play-
j‰ Œ Ó
59

& c part: 2 stands, uno leggio, 4 Spieler, 6 violons,

e
. . . . œ. œ.
• (2) The composer specifies the number of stands or musicians ers, the numbers must refer to the players. In Jeux De-
- - . -
FÖ á
Debussy
playing a certain
Ibéria/iii bussy chose a clearer format: “2e, 3e pupitre,” etc., refers
etc. You should assume that the stands or players are counted to stands, and numbers without attribute (“1.,” “2.,” etc.)
from the front: 6 1ers
hereVons
“6 Soli
premiers violons soli” can be assumed refer to players.
expressif et un peu moqueur (= somewhat mocking)
to refer to the first three stands. Modify these directions if the

¥ ¥w
Plus thecalme et très expressif

bb b b 2 w
section size is smaller than one specified by the composer
[h = 54]
f 54 +5

.. ..
(cf. p. 502). 21x
Debussy
& b2
π
La mer/iii

1ers de chaque pupitre Soli

.
. # œViolinist’s
œ
Scherzando q. = 72

# The
g
#
1 +8

& # 38 ‰ # œœ
©Martin Wulfhorst, pizz.Orchestral Companion, 2012 (To order the book visit www.orch.info)
Debussy
Jeux
3e et 4e Pup.
 œœ œ œ œœ œœœ œ œœ œœœ œ œœ œœœ œœ œœ œ
All.o agitato assai vivo [h = 80]
b b b C ww w ≤ j
b 4 3 2
b w n œ b œ œœœ œ œj‰ j œ œ œ ‰ ~~~
‰ ‰
28
Verdi
& b @ @
Traviata II/7
3
ƒ 44 œ nœ œ œ œ
p
a tempo
9 Decoding and Marking Orchestral
soliParts • 9.23
(to be doubled Divisi:
by the “Which Part Should I Play?”
2nd violins) 495

≤
Etwas ruhiger [q = 96] a tempo

-
c
. .
4
zus. œ
‰ Jœ œ
Rit.
b
& b 43 œ œ Œ Œ
150 get.
Mahler

pizz. œ œ π
Symphony 5/II/3

p
arco
zart

-
TOUS div. n ˙ .
d Rêveusement lent q = 50

bbb b c ≤ ∑ ∑ ∑ ∑
La moitiŽ

Œ n˙.
1
Debussy b
& b w w w w
π π-
Rhapsodie
vn. 2
Sourdine

Rubato [q = ca. 100]

( ≤ 1 ) ≤ ≤2 ≤ ≤
e
≤3 ≤2
sur la touche
a Tempo = 112
q
3
- . - -
4 59

& c œ œ œ œ œ- œ- œ- œ- œ- œ. œ. œ- œ . œ- œ- œ œ . œ œ œ œ
59 -2

j‰ Œ Ó
- . . . . œ. œ.
FÖ á
Debussy
Ibéria/iii

ers ons
61 V Soli
expressif et un peu moqueur (= somewhat mocking)

¥ ¥w
Plus calme et très expressif [h = 54]

bb b b 2 w
f 54 +5

.. ..
21x
Debussy
& b2
π
La mer/iii

1ers de chaque pupitre Soli

# œœ.
Scherzando q. = 72

# # # 3 ‰pizz. # œœ.
g 1 +8

Debussy
& 8
p
Jeux
3e et 4e Pup.
DIV.

≤
Adagio assai e = 76

b œœœ b n œœ ≈ Œ
h div. en 3

3 1.2.3. Œ
4 +3

[7.8. b œb
Ex. 9.23i
Ravel, Piano
& 4
stands π á
4.5.6.
Concerto/ii

-
En serrant [e = 92+]

≤rœ
## #
& # # # 42 ‰ . œ œ
œ œœ .. œœ œœ.
i 45 +3

1.2.3. œ
œœ
players p
4.5.6.
p
# # # # # 2 . ≤r œ
Debussy
Ibéria/ii

& # 4 ‰ œ œ- œ. œ œ.
7.8.9. œ UNIS. œ
10.11.12.

©Martin Wulfhorst, The Orchestral Violinist’s Companion, 2012 (To order the book visit www.orch.info)
496 9 Decoding and Marking Orchestral Parts • 9.23 Divisi: “Which Part Should I Play?”

Marking divisi passages • The notational system in h —with
numbers indicating the stands—is the most precise and practical
way of marking the assignment of complex divisi passages with
three and more parts. (See the model page from Debussy’s Jeux
at http://www.orch.info/parts.) Where necessary add a Roman
number designating the individual players to the number of the
stand—for example, 3/I for the outside player of the third stand,
and 3/II for the inside player. The alternative is to assign a number
to each player. In simple divisions in three or in four, however, it
will suffice to add div. by person or div. by stand.
When you mark divisi passages check them carefully for errors,
misprints, oversights, and inconsistencies, which are among the
most common mistakes in printed parts and scores.
j • Berlioz notated mm. 1–17 as div. a 3 on three staves, but
in mm. 7 and 17 he composed only two parts, assigning the
top notes to the top two staves and the bottom notes to the
third. In this case, consider switching from div. a 3 to div. a 2,
as composers of later generations would have required. (The
E b in m. 6, which Berlioz seems to have avoided for technical
reasons, has also been added for consistency.)
9.23j [2-16m Apr.07, 110%
k • Because of differences in system breaks, often there is a dis-
crepancy in the divisi indications of the parts and those of
the full score. As a result, switches from one divisi system to
another in the middle of a staff in the full score are indicated
incorrectly in the parts, if at all. Because conductors normally
do not check the parts, the player must notice and correct
such mistakes. In the full score for this passage, all first-violin
parts are printed on a single staff, and it is clear from the print
that the switch from div. a 4 to div. a 2 occurs in m. 17.
l • But in the first-violin part, a new staff begins in m. 20, and
the printing gives the wrong impression that the switch from
div. a 4 to div. a 2 occurs here. If this is not corrected, some
players might be forced to perform needless, awkward skips
at the staff break. It is best to cross out the second and fourth
staves in mm. 17–19 and to insert a div. a 2 marking at m.
17 and arrows for those players who need to switch staves (cf.
Debussy, Jeux 38  +6). Another typical problem shown here is
that dynamic signs are only printed between staves 1–2 and
3–4. If you are playing the second or fourth parts you might
want to add the dynamics.

bœ
3́
Larghetto q = 63
j
b œ œ́ œ́ œ́ œ́ œ́ b œ3́ œ́ œ́ œ́ b œ´ œ́ œ pizz. œ2
‰ œœœœœ œ bœ Œ Ó Ó
arco

& c ~~~~ J
4

˙
Berlioz, Symphonie

∏ 6 f f S p
fantastique/v
6

b œ œ́ œ́ œ́ b œ´ œ́ œ́ œ́ # œ´ œ́ n œ œ́ œ pizz. œ œ œ
3́ 4 3́
œ
J ‰ œœœ œ œ Œ Ó Ó
arco

& c ~~~~ ˙
∏ 6
divisi a 3
con sord 6
f f div. a 2 S p
œ œ́ # œ´ œ́ n œ œ́ œ́3 œ́ b œ´ œ́ œ́ œ́ n œ pizz. œ œ œ
3́ 2́ œ œ
œ
arco

& c ~~~ J
‰ œœ œ Œ Ó Ó
∏ 6 f f ˙
S p
6

©Martin Wulfhorst, The Orchestral Violinist’s Companion, 2012 (To order the book visit www.orch.info)
 9.23k Deb. Rondes 110 %
9 Decoding and Marking Orchestral Parts • 9.23 Divisi: “Which Part Should I Play?” 497

- - - -
ModŽrŽment animŽ q = 96
- - √
æ @ æ @
b b œœœœ b œœœœ n b œœœ@ n n œœœœ
En retenant
@
b œœœ n b œœœœ b b ˙ .˙æ. n b œœæ
œ b œœ @ 20 arco b œœ @ pizz.
près du chevalet
k sur la touche pizz.

& 4 æ @ b@œ æ @ @ æ Œ b œœ æ œœ Œ b œœ æ œœ
4
3

æ
16

‘
Debussy

p cresc. ƒ Sf pæ b œœ. æp b œœ.

Rondes,
full score
DIV. ˆ 4
9.23 l Deb. Rondes 110 %: Bitte unbedingt den Umbruch behalten: SEHR WICHTIG

œ- œ- b œ- œ-
ModŽrŽment animŽ q = 96
√
œ- œ- bœ
En retenant
b˙. œ
DIV. ˆ 4 +
l

œ@
sur la touche

@ @ æ @ @
pizz.

æ
près du chevalet

& 44 æ æ Œ œ æ
16 3 uh
Debussy
‘ æ œ.
p cresc. ƒ Sf p
Rondes,
violin part
√
b œ- œ- - œ- œ-
trem.

n œ- n œ b ˙près. du chevalet bœ œ
œ@
sur la touche

@ @ @
pizz.

&4 æ
4 @ æ æ æ ‘ Œ œ æ
p √ æ œ.
b œ- b œ- œ- n œ- b œ- œ- b près
˙ . du chevalet nœ bœ
sur la touche

&4 æ
4 æ b œæ œ@
pizz.

@ @ æ @ @ æ ‘ Œ æ
p cresc. ƒ Sf p b œ.
trem. √
- b près
˙ . du chevalet
44 œ œ- b œ- œ- œ- œ- nœ bœ
sur la touche

æ b œæ œ@
pizz.

& æ @ @ æ @ @ æ ‘ Œ æ
p b œ.

œ
æ œ@
pizz.

&Œ œ
20
arco

æ œ.
DIV. ˆ 2 p
æ bœ
&Œ œ@
pizz.

bœ æ
arco

p b œ.

©Martin Wulfhorst, The Orchestral Violinist’s Companion, 2012 (To order the book visit www.orch.info)
498 9 Decoding and Marking Orchestral Parts • 9.23 Divisi: “Which Part Should I Play?”

m • In the full score the engraver used two staves for divisi
schemes a 2 in m. 341, a 3 in m. 343, and a 4 in m. 345.
n • But in the part, the two lines in mm. 341–42 are distributed
incorrectly over three staves. Correct this by reassigning each
of the two lines in these measures to four stands, in the man-
ner shown here (details below).
Add “driving directions” that will help you find your part easily
and quickly:
n • Add two short slashes, lines, or arrows to the left of the staff
to mark your part and that of your9.23 l partner,
stand [2-16masApr.07
shown div. Zem dec 09: 110%
here for the third stand.
n /344–45 • Use arrows pointing up or down to show where you
must switch staves, as shown here for the third stand.
n /352 • Use the standard symbol @ to separate a system of mul-
tiple staves from a single staff with undivided parts, and/or
mark the single staff with two slashes or arrows. Both meth-
ods are shown here.
o • Use parentheses for passages that you do not play but are
still notated on your staff. (Do this especially for solos of the
principals or other players.)

˙. ˙. œ
FrŸheres Zeitma§, nur mŠ§iger
œ#œ
Sehr gedehnt
m
œ ˙ œ ˙ œ œ # œ œ # œ œ # œ ˙. ˙. œ
œ # œ
m. Dpf.

œ # œ œ # œ J ‰ ‰ Œ.
get.

3 œ œ #œ 6
341

&b 4 ∑
24

8
π ∏ Ø
n˙. ˙˙ .. œœ
œ#œ œ n ˙.
Zemlinsky

˙ nœ œ.
Mermaid/ii,

œ ˙ œ ˙ J‰‰Œ ‰
& b 43 68
full score m. Dpf.

∑
π 9.23n Dec. ∏
2011 Ø

. ˙. œ
n Sehr gedehnt [q = 56] FrŸheres
3̇ Zeitma§, nur mŠ§iger [q. = 72]
œ #œ
2
œ≤ ˙ œ ˙ 1.5.6. œ œ # œ œ # œ œ # œ
3 1 1 2 3
1 in 6
24 div. a 3
1.5.
4
m. Dpf.

3 68 J ‰ ‰ Œ.
341 1.5.6.
Zemlinsky
&b 4
π ∏ 3 4 Ø
Mermaid/ii,
violin part stand 6:
div. a 2!!
≤œ m. Dpf. œ div. a 3 div. a 4
˙. ˙. œ
b 34 ˙
2. ˙ 4.8. œ œ # œ œ #œ œ #œ œ #œ 6
4.8.
J ‰ ‰ Œ.
4
& 8
π ∏ Ø
n˙. ˙. œ
3.4.7.8. ≤ m. Dpf. ˙ nœ œ.
2.3.7.
œ1 # œ œ 4
3 œ œ ˙ 68 J‰‰Œ ‰
2.6.
&b 4 ˙
π ∏ Ø
Nb.: The slashes and arrow show the markings for the 7th stand.
n ˙3 . ˙. œ 4
9-23 68
3.7.
J‰‰Œ ‰
Ø
œ œ œ œ
‰ ‰
352 4 Pulte

& b ~~~
∏
pizz. + hp.

≤2 senza sordina ≤ b œ2 b œ b œ-
II

œ-
o And.te sostenuto q = 56
- œ-
senza sord. rall.

- - - 1 œ œ
b œ b œ b œ
poco accel.

œ œ œ
3 come eco
œ œ
Tutti

Œ nœ ‰ ‰
14 1.o Solo

&c ˙ #˙ )
( F dolce
Puccini

π con sordina f
Butterfly II/ii
cresc. con passione

©Martin Wulfhorst, The Orchestral Violinist’s Companion, 2012 (To order the book visit www.orch.info)
Più animato [h = 80] q
9 Decoding and Marking Orchestral Parts • 9.23 Divisi: “Which Part Should I Play?” 499


  
Double stops and chords: to divide or not to divide? Unfortunately, 18th-century writers were silent on the issue of
p • When a composer wants strings to play double stops or  whether the unavoidable arpeggiation of non-divisi chords should
chords, he or she adds symbols such as or , or writes non begin on or before the beat and how the chords should be spread.
divisi, unis., zus., or Doppelgriff. Modern writers can do no more than provide rough guidelines:
Most likely, during the Baroque9-23 and Classical periods orchestral “In Baroque music, where harmonic considerations rule, the play-
players did not divide double stops and chords. 19th-Century er’s priorities should be focused on the bass line, with the bottom

œ œ œ œ
string players continued this practice, though the stronger hair note as the strongest point in the chord, usually played on the

&b ‰ ‰
352 4 bow
Pulte made it more difficult to play chords.
~~~
tension of the Tourte beat. The other notes of the chord may be spread in a variety of
Even Wagner and his contemporaries obviously still expected ways according to the context, speed of the music, or considera-
players to follow this tradition except where they explicitly in- tion of the other parts....There is no rule which notes should be
∏
pizz. + hp.
dicated div. (Otherwise they would not have taken such care to sounded together” ( Tarling 2000, 149). In Classical and Ro-
avoid writing double stops and chords that a violinist could not mantic orchestral music, by contrast, the focus shifted to the top
play easily.) note. This requires a very quick arpeggio that starts just before the

≤
Today we find a mixed practice, different from orchestra to beat and ends with the top note on the beat.

≤ b œ b œ b œ-
II

œ-
te sostenuto

œ œ- œ-
orchestra and fromo And.conductor to conductor.
q = 56 If you are in doubt, q – t poco
• We do not know whether senza sord.
players rall.any distinction
made

œ -
2 senza
b - - b œ b œ
2
accel.

œ œ œ
sordina
usually 3results
œ œ
1 the four notational forms found in 18th-century
Tutti

Œ nœ ‰ ‰
ask. Dividing 14 in a more
1.ocontrolled sound quality between
&c ˙ )
come eco Solo

#˙
( F
and higher rhythmic precision, and it should be applied wherever
Puccini music and some 19th-century music, nor do we know how

π f
aButterfly II/ii sound or a very clear attack are required. Not divid-
very smooth they performed them.
ing generates a fuller sound and greater energy. The
con sordina HIP move-
dolce u – w •cresc.
If you divide three-part chords, however, avoid dividing
con passione
ment has given new life to this older practice of not dividing ( them in a manner so that both players double the middle part.
Barschai 1996, Lamprecht 2000).

œ
q Andante più tosto Allegretto
œ œ
Più animato [h = 80]
U
p
˙ œ
[q = 100]

bb b b 2 œ ggg ˙ œ œ œ
200 K +17

& 4 Œ J ‰ J ‰ œœ ‰ œœ Œ
Π2
196
Dvořák, Slavonic
& 4 gg ˙
Haydn

ƒ ƒ J
Dance 3 Symphony 103/ii

œ. w ˙. œ œ
Presto [w = 69]
Ž
s

## 6 œ œ œ œ œ œ . .
r Presto [h. = 72]
2
## c œ
œœ ‰
174 12/29

& 8 œ . & œ
Haydn Mozart

f
Symphony 73/iv Ov. Figaro

Z ƒ

Ϯ
Allegro con spirito [h = 80]
t 0 0 ˙ œ .. Ž ≤
1
## C 2
œ r ~~~
Mozart
& ww œ œ' œ
f '
Symphony 35/i
vn. 1+2

j j j j j j j
œ œ œ
Unbalanced division: Balanced division:
2
# œœ # œ # œ # œ
& # c J ‰ œœ ‰ œœ Œ ‰ œœJ ‰ œœ ‰ œœ Œ œœ ‰ œ ‰ œ Œ
u v w
‰ ‰
Notation:

J œ œœ
Dividing double stops

J œ J œ J
and chords
div.
J div.
J
≤
Moderato q = 76 2

˙ . ∑ n œ˙ . b œ œ œ n œ˙ . b œ œ œ
stands 1-4
# æ
x 58

Elgar
&The43 Orchestral æ æ ~~~~
div. ∏ trem.
©Martin Wulfhorst,
Enigma Var./xiii Violinist’s Companion, 2012 (To order the book visit www.orch.info)
stands 5-8
500 9 Decoding and Marking Orchestral Parts • 9.23 Divisi: “Which Part Should I Play?”

Assigning two divisi parts • No matter how a division into
two parts is marked, consider various options fo assigning lines:
d /5 • Dividing between outside and inside players is the standard
method, assumed to apply unless you are instructed otherwise.
x – z • Dividing between equal blocks of stands or players is
preferable
x • if a melody and an accompaniment (or two melodies) are
juxtaposed (this system should be designed so that the stands
who sit close to each other play the same part)
signed to the back stands—for instance, the tremolo in x or
the pizzicato in Ex. 7.2s. In Berg’s Violin Concerto/ii/175, “1.
Metà” should comprise the first three stands so that the gradu-
al expansion and reduction of the volume has a spatial quality.
aa • Dividing between unequal blocks of stands is preferable if one
of the two parts should dominate ( Woss 1983, 6).
bb • Dividing according to other systems: Here the chords sound
best if the outside players take the middle, moving part and
the inside players take the ostinato octaves as double stops.

j j j j j
y – z , d /1–4 • if only half the section plays: Ex.: Debussy, Rondes 16   +3 • The marking “1 par pupitre” on

œ j
2 y • the front halfu plays in passages that require a tight en-v Unbalancedboth
œj j œ
division: Balanced division:

# œ # œ j œj # œ # œ
œœj ‰ œj ‰ œj Œ
staves only makes sense if one follows Debussy’s ap-
j
& # ## c œœJœ ‰ # œœœ ‰ œœœœ Œ ‰ œœJœ ‰ # œœœ ‰ œ
w

œœœœ ŒŒ ‰ ‰
Notation:

œJœ ‰ # œœ ‰ œœœ Œ
2 semble and close contact to the conductor, as in this tricky Unbalancedparent
division: Balanced division:
intention to have the two staves generally divided by
u v w

& c J ‰ Jœ ‰ œœ Œ ‰ J ‰ Jœ ‰ ‰ ‰
Dividing double stops Notation:

œœ
transition stand. Here, only the outside players are playing. But having

œJœ J Jœ
and chords

Jœ
z , ddouble
Dividing /1–4 stops
• the back half plays passages where the sound the first four stands divide the two parts between them by
J œ J J
chordsbe less direct or must explicitly come “from a distance.” div.
andmust div.

J J
player instead makes for a tighter ensemble.
Similarly, in passages with two parts, the part that needs less div. div.

≤
acoustic presence or less rhythmic definition should be as-

≤ bœ œ œ nœ bœ œ
Moderato q = 76 2
n œ œ
# 3 æ˙˙ . ∑∑
˙ . b œ œ œ n œ˙ . b œ œ
Moderato q = 76 2
x 58 stands 1-4
n œ œ
& # 43 æ .
x 58 stands 1-4 æ˙ . æ˙ . ~~~~
æ æ
Elgar
Enigma
Elgar Var./xiii
&div.4∏ trem. ~~~~
div. ∏ trem.
Enigma Var./xiii stands 5-8
stands 5-8

All.o mod.o q = 88

( 0 2) 1 3
y All.o mod.o q = 88 All.o agitato q = 132
≤
33 +32
1 D o agitato q = 132
- mune; è nostra patria UH All.
≤j ‰ Œ œj ‰ Œ Genova Œ b œ. œ œ œ œ (œ0 œ2) œ 1 œ3 b œ
y 33 +32
&c œ
Genova

. b œ œ œ
UH 1 D
# œj ‰ Œ >œj ‰ Œ .
œ œ œ n >œ Œ œ. b œ œ œ b œ. œ œ œ œ. œ œ œ œ. œ n œ œ b œ. œ n œ œ œ. œ œ œ
Verdi - mune; è nostra patria

&c œœf
Simon
Verdi I/6
Simon I/6
#πœ > œ œ œ n >œ ∏ metˆ œ sola dei primi
œ violini
. œ(front half ofn œthe section)
. œ nœ œ . œ œ œ
π f ∏ metˆ sola dei primi violini (front half of the section)
Unmerklich etwas bewegter [q = 120]
z Die HŠlfte (last four stands)
≤ 4
Unmerklich etwas bewegter [q = 120]
3
255 b 2 œ. ≈ b œ. œ. ≈ œ œ ≈ j ‰ ~~~~
255

Ó Œ ≈
z Die HŠlfte (last four stands) 21

& 2 œ. ≈≈ œ. œ.≤ ≈≈ œ. œ. ≈ œœ.

4
Ó weiterŒ Ferneœœ œ. ≈ b œ. œ. ≈ œ. œ. ≈ œ. œ.j ‰ ~~~~
3
b 22 wie aus
Mahler 21

&Immer œ. offœ. œ. œ. œ. . . . œ. œ.
Symphony 3/I/i

sempre ∏
Mahler
Symphony 3/I/i

sempre ∏ off
Immer wie aus weiter Ferne

Un poco meno mosso q = 122

f- - . >. . >. . >. . >. >>

aa Un poco5menofront stands
arco

(≤ )
mosso q = 122
3
f# œœ- œ- ‰ œ œ. # œj œ>. # œœ. œj œ>. œ.œ# œj œ>. n œœ. œj œ>. œ # œ ‰ ~~~
5 front stands 3
277 2
arco

˙(≤ )# œ
277
aa soli 3
2 # œœ œŒ # ˙Œ # œ
& 4 soli œ # œ‰ # œ œ j œ œ j œ œ j œ œ j œ # œ # œ ‰ ~~~
3
Œ˙ # œ Œœ # œ œ # œ Œ # œ # œ œ œ# œ n œ œ # œ
Bartók

pizz.#pœ #˙ #œ
& div.
4
Concerto/v

Œ standsŒ Œ Œ
Bartók

pizz. p Œ
Concerto/v
div. 3 back
3 back stands

bb
1 h = 116 pizz.
Allegramente h = 116 div.
œœ N œœ N œœ
#2
∑1 Œpizz. œ] Œ N œœ
œ ] Ó Œ N œœ
1bb Allegramente
1& 2

& 2Î Î ∑
#2
Œ pœ Œ œ Œ œ
div.

Ó
Ravel, Piano

ÎÎ
Concerto/i
Ravel, Piano

p
Concerto/i

©Martin Wulfhorst, The Orchestral Violinist’s Companion, 2012 (To order the book visit www.orch.info)
LŽger et fantasque q = 126
LŽger
15 +7 et fantasque
1er et 2e P. .
4 q = 126
-
 π > œ > ∏ metˆ sola dei primi violini (front half of the section)
f
Unmerklich etwas bewegter [q = 120]
z Die HŠlfte (last four stands)
≤ 4
9 Decoding and Marking Orchestral Parts •219.23 Divisi: “Which Part Should I Play?” 501
3
2 Ó Œ œ. ≈theb œ.moreœ. rhythmic ≈ œ jto‰the~~~~
255

& b for ≈parts:

2 assigning three orœmore divisi ≈ œstands
œ ≈thatœ. plays ≈ œ œ material
œ œ œ . . . . . œ
Mahler

. . . .
Consider different
Symphony 3/I/i methods front of

sempre ∏ off
• division by player the section, closer to the conductor. (Dividing the two fast
Immer wie aus weiter Ferne
• division by stand parts between stand partners instead of by stand will promote
• division by group of players/stands a compact sound quality.)
• division accordingUn to a more
poco meno individual
mosso qsystem.
= 122
n • Avoiding awkward skips: In transitions between different di-

f- - . >. . >. . >. . >. >

In order to decide how arco 5 front standssystem and how to assign
to design the visi arrangements, parts should be assigned in a manner that
(≤ )
aa
• 3 avoids unwarranted audible breaks between the phrases,
#œ
3
œ
parts, consider the following factors—some musical, some practical:
‰
œ # œ œ # œ œ œ # œœ œ œœ œ n œœ œ # œ # œ ‰ ~~~
j resultj from awkward j voice jleading
& 42 # œœ œ
277
cc • Timbre: Division bysoliplayer is preferable in passages where
#˙ #œ ˙ #œ • # avoids
œ œ # œunnecessarily.
œ
which

Œ Œ Œ Œ
Bartók

Œ
the combined parts are intended to create a dense, homoge- switching staves

p
Concerto/v
neous weave of div.sound. This applies especially to sustained The plan shown here avoids tricky melodic jumps at mm.
pizz.
chords and other homophonic passages. When such a timbre
3 back stands 342–43 and 344–45; at the same time, it allows as many players
is intended, you should change the printed instructions to as possible to read from one staff ( l , Ravel, Bolero 18  +28).
indicate a division by player ( h ). Perhaps the scheme in n ee • In passages with frequent switches between divisi a 2 and a 4,
should be changed into division by player too. you should
bb ofAllegramente
dd • Juxtaposition
1 œœ N œœ
h = 116 playing: Division by
material and ensemble
N œœ
• divide two parts by stand (with the odd-numbered stands
#2 œ Œ œ Œ œ
div.
1
∑ Œ
stands or blocks of stands is preferable pizz. ]
if the parts play very
Ó
taking the top line and the even-numbered stands taking
& 2
ÎÎ
Ravel, Piano material. Such a strategy will also make players feel
different the bottom line)
p
Concerto/i
more secure, because they will share their part with their stand • divide four parts by player. This minimizes melodic and
partners. Here a special divisi arrangement moves a block of visual switches.

LŽger et fantasque q = 126

b œœ. b œœ- ..
4
œœ œœ. b b œœ- œœ œœ
15 +7
1er et 2e P.

œ .
‰ J œ œ bœ bœ œ œ
cc 3e et 4e P.

&c ‰
5e et 6e P.
Debussy
J
p expressif
Rondes
(12/8)
9.23dd cre _ _ _ _ _ _ _ scen _ _ _ _ do molto

≤
dd Lo stesso movimento q = 63 armonici
### 3 Ȯ
35

& 4 Œ Œ
1.a METË (senza sord.)

œO œO ~~~
Verdi
Falstaff III/ii

π
stands 4-6

. .
DIV. œ œ œ. œ.
3
œ. œ. . . . .
œ œ œ. œ. œ œ œ3. œ. 1. . œ2. œ. œ. œ. . . œ. œ. n œ. œ. œ. œ. œ. œ. œ. œ. 1. .
(con sord.)

### 3 œœ œ œ œ. œ. œœ
~~~
stands 1-3
& 4
p stacc. e leggeriss.
outside 6

œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. . . 2. . 1. . 2 . .
2. METË 3

œ œ # œ œ n œ œ œ. œ. # œ. œ. œ. œ. œ œ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. ~~~
a

### 3
stands 1-3
& 4
p stacc.6e leggeriss.
inside
9.23dd Dec11, 110%

˙≤ .
ModŽrŽ, sans lenteur (dans un rhythme très souple) e = 116
œ
œœ œœ œœ œœ œœ œœ
ee

b
& b b b b 68
J‰‰Œ ‰
DIV.

∑
44 pizz.
Debussy

π π
La Mer/i
1
˙≤ . œ ≈œ≈œ≈œ≈œ≈œ≈œ
b
& b b b b 68
J‰‰Œ ‰ ∑ ≈œ≈œ≈œ≈œ≈œ≈œ
π
DIV.
pizz.

©Martin Wulfhorst, The Orchestral Violinist’s Companion, 2012 (To order the book visit www.orch.info)
502 9 Decoding and Marking Orchestral Parts • 9.23 Divisi: “Which Part Should I Play?”
i • Section size: For a section of twelve first violins (instead of
Debussy’s standard section size of sixteen), reduce the stipu-
lated division of four groups of three violins to four groups of
two violins so that acoustic proportion to the tutti is approxi-
mately maintained.
Ex.: Verdi, Aida IV/10 U   • Balance: With Verdi’s original divi-
sion, only a single first violin of a twelve-piece section plays
each of the arco parts on the three lower staves. To make these
arco parts sound fuller, assign them to stands 4–6, and assign
the pizzicato parts to the six second violins who sit closest to
them. (The original second-violin part will not suffer from a
reduced number of players.)
Ex.: Sibelius, Symphony 5/iv J   and L   • Avoidance of awkward
page turns: Design the divisi plan so that one player at each
stand can turn the pages easily without missing important
notes.
Ex.: Zarathustra/end • Visual appearance and issues of leading:
Though original divisi plans that involve one or more solo
players and several tutti parts should usually be followed liter-
ally, here it looks odd if the inside player at the first stand is
the only one in his block of stands who is not playing. He or
she should double the top of the tutti parts, as in all passages
for one solo and two or more tutti parts (for instance, Debussy,
La mer/ii 24  ).
j • Tradition of the orchestra: Some string sections have devised a
“divisi policy” so that the concertmaster or principal needs to
give instructions only in particularly complex passages. Such
a policy might look like this:
• For three parts, always divide by stand.
• For all other divisions, always divide by person.
Task 9.23: Work out and mark the divisi schemes in tricky pieces
such as Debussy’s Jeux or Lutoławski’s Concerto. Use the page at
http://www.orch.info/parts as a model.
Reading and performing divisi passages
Ex. 6.10a–b • In passages with octave divisi, read whichever part
is easiest to read and transpose the notes up or down an ­octave
if necessary.
cc • Complex passages with two or three parts printed on a ­single
staff, particularly those with parts crossing, are difficult to
read. Especially if you are playing the second part you prob-
ably will need to memorize your pitches.
All types of divisi discussed so far have entailed distributing
two or more parts between players—including divisi strategies
where only a portion of the section plays, while the others pause
( d /1–4). But there are two more types of divisi that entail es-
sentially only a single part. Such plans, designed by the composer,
the players, or the conductor, serve to facilitate difficult spots or
strengthen certain effects. The following two terms have been
coined for use here:
• Alternating divisi: A single line of music is split “horizontally”
between two or more alternating sections or groups of players.
• Complementary divisi: Two or more groups or sections simul-
taneously play slightly different versions of the same material.
©Martin Wulfhorst, The Orchestral Violinist’s Companion, 2012 (To order the book visit www.orch.info)
Berlioz seems to have been the composer who invented the alter-
nating-divisi plan (or at least the first major composer to apply
it systematically):
ff • In order to facilitate a single line of fast, tricky eighths,
Berlioz distributed the notes between two groups of first and
second violins so that they play alternating or slightly over-
lapping segments. He described this passage in his Treatise:
“Sometimes the rapidity, complexity, or high position of the
tones would make a piece too dangerous; or else the author
may want to be sure of a secure and neat execution: in such
cases the violins should be divided, some playing one part of
the passage, the rest another. Thus the notes of each section
are interspersed with short rests, not noticed by the listener,
which allow, as it were, a breathing space to the players and
afford them time to reach difficult positions securely and to
strike the strings with the necessary vigor. ...if the parts are
divided between the two players at each desk and each part
is thus played on both sides of the orchestra [in the 19th-
century seating arrangement with the violin sections on op-
posite sides of the conductor, as shown in Figure 8.12/A], the
fragments will connect smoothly and it will be impossible to
notice the division of the passage” ( Berlioz 1844, 29–30,
and 1948, 42–43).
A number of other composers followed suit, including Verdi ( kk  ),
Tchaikovsky (Overture Nutcracker/33), Bartók (Concerto/v/259).
and Prokofiev (Kijé/iv 47  , 51  ).
Today players and conductors apply alternating-divisi patterns
even where they are not notated—especially in order to make
switches between different playing modes and registers easier,
smoother, and less hectic:
gg • The alternation between ricochet and pizzicato is nearly im-
possible to perform. Instead, the outside players should play
the ricochet, the inside players should play the pizzicato.
hh • Divide arco and pizzicato within the section in order to
minimize the physical motions in this extremely quiet and
suspenseful passage. The only other option—left-hand pizzi-
cato—will never produce the same sound quality.
ii • Distribute the notes at the “seam” between arco and piz-
zicato, with players leaving out alternate notes: this prevents
players from chopping off or accenting the last arco and from
playing the first pizzicato note late or sloppily.
jj • Stagger this tricky string change in a similar manner. In
other, similar passages, leave out an awkward note that is dou-
bled by the seconds (Sibelius, Violin Concerto/i/ 12  +16) or
assign it to the seconds (Schumann, Symphony 1/iv/181).
Alternating divisi also helps to facilitate pizzicato passages.
kk • You may split extended, very fast, and loud pizzicato pas-
sages between outside and inside players: here the groups
alternate on every quarter, as they may in Ex. 7.2g too. In
Stravinsky’s Sacre/i 40  , they may alternate on every fourth
dotted quarter.
 9.23
9 Decoding and Marking Orchestral Parts • 9.23 Divisi: “Which Part Should I Play?” 503

n ≤3
œ œ œ œ 2≤
Allegro agitato e appassionato assai h = 132
œ
œ œ œ œœ Jœ œ œ œ œ œ # œ œ œ œ œ œ# œ œ n œ œ
ff 2
œ œ# œ œ œœ œ œ œ œ
3 2 4

‰Œ ‰ J ‰Œ ‰ Œ ‰
412
Berlioz, Symphonie
&C
div. ƒ vn. 1/I+2/I
3 ≤ 3
fantastique/i

1 œœ
n ≤3
unis.

≤ 3 œœ
œ
œ œ œ J œ≤œ œ œ œ œ œ œ œ œ œ œ# œ œ n œ œ
1 1
œœ œ# œœ œ
4 4

&C ‰J ‰ ‰ J ‰Œ ‰ J ‰Œ Ó ‰ Œ
ƒ vn. 1/II+2/II 9.23 [2-16m March 11 110% 1
≤
3

gg
œ œ≤ ≤
2 arco
. j j n arco
# œ œ≤ œj n œ≤
Allegro q = 120

# # # # ‰ œ. œ. . ≤ œ œ 4 œ œ. œ. œ≤
œ j
œ≤ :|| œ
arco
1 arco 3 j arco
arco
(outside)
#œ nœ
AA +9
arco ||:4
‹œ
& c œœ œ œ œ œ J ‰ . œÓ
. .
Verdi

. . . .
Otello I

p leggero
3 pizz.
div. uniti 3 pizz. pizz. pizz. pizz. pizz. pizz.
(inside)

Allegro con brio h. = - 60

∏ unis. ˙ .
hh
œ
(outside)
@ @
(inside)
b . . Œ Œ Œ Œ ˙ . ˙ . . ˙ . ˙ . ˙ . œ ˙ . @˙ . ˙ .
4
& b b 43 Œ Œ b ˙ b ˙
arco M

ŒŒ œœ Œ Œ
div. pizz.
.
380 1 pizz. arco 2

œ œ @ point @ œ œ @ repeat:
@ @ @ hrn. ˙ ˙ œ f @
Beethoven

p decresc. π π œ
Symphony 3/i

≤ ≤
œ ‰1 2
Allegro [q. = 92Ð100]

œ . n œ. œ . œ œ (outside)
.
2
ii
œ
b b b 68 b œj ‰ J J ‰ J J J ‰ œ nœ ‰ ‰ j ‰ #œ nœ ‰ ‰
103

Symphony 1/i & . ‰ J J J J

P n œ
Brahms

p (inside) P
p
div.
dim.

≈ ≤3 œ œ œ œœ œ œ œœ
jj

œ œ
Allegro molto h = 76
b 2 .. œ œ œ œ
274

bb4 r
div.
Symphony 3/iv &
˙ n˙ ˙ n˙ œ ≈
Beethoven

π π
sautille'

>j
j ‰# œ œ œ # œ œ
Allegro q = 120
# cAAŒ+4
kk

œ # œ œ œ # œ J ‰ œJ ‰ Œ
pizz.

Ó
div. 3
Verdi
&
Otello I
Π>
F
Allegro q = 100

## c .. .. . . .!. .!. .!. .!.

ll 11 +5

‰
arco leggero e molto stacc.

& ! ! œ! œ œ œ œ
vn. 1

2 p œ ≈ œ ≈ ≈ ≈ ≈ ≈ ≈
Verdi
Falstaff I/i
©Martin Wulfhorst,vn.The Orchestral Violinist’s Companion, 2012 (To order the book visit www.orch.info)
pizz.
 & 4 @ @ œ
œ œ @ @ œ œ @ @
π
@ @ ˙ œ ˙
f ƒ œ
p decresc. πpoint
œ
Symphony 3/i
repeat:
hrn.

≤
.œ œ. n œ≤. œ . œ œ œ ‰
Allegro [q. = 92Ð100]
504 ii 2
9 Decoding and Marking Orchestral Parts • 9.23 Divisi: “Which Part Should I Play?”
(outside)
j J J ‰ œ nœ ‰ ‰ j ‰ #œ nœ ‰ ‰
b œ. ‰ J J ‰ J
In the late 19thb century mm1 • Many
2
6
103

b
& b 8 ‰ JJ J J
composers introduced complemen- conductors and musicians apply a divisi plan of De

P n œ
Brahms

p P
p
tary-divisi1/iplans to create new colors and effects that result from
Symphony Falla (Nights/i 23  ) to other passages with tremolo or fast rep-
the simultaneous combination of different articulations or playing div. etitions: only half of the section plays tremolo or repetitions,
(inside)
modes: while the other dim.
plays regular note values. This distribution
ll • The first violins play arco with repetitions while the seconds lends heightened intensity to Bruckner’s climaxes and brings
play the same pitches pizzicato. melodic clarity and luminousness to some of Schumann’s

≈≤œ œœ œ œ œœ œ œ œœ
Players and conductors
jj apply such divisi strategies too in order to scrambling passages (Ex. 9.8ee).
Allegro moltowhen
œ œ œ
h = 76

b œ
achieve and strengthen special effects no amount of practic- 9.21h, Stravinsky, Sacre 176  +2, +4 • Half the section plays
3
Ex.
2 ..form of complementary divisi Ex. 6.2qto•make
274

b r
div.
& b 4
ing and rehearsing truly produces the desired result. arco a loud col legno or pizzicato passage audible.

˙ n˙ ˙ n˙ œ ≈
Beethoven
Ex. 9.15u–x
Symphony 3/iv • The most common Players use different fingerings in order to avoid un-
are divisi, staggered, and free bowings: the players use differ- warranted sudden color changes.
π π
sautille'
ent bowings for the same music in order to create the illusion Ex. 6.8c, 9.21bb • Only a part of the section performs a cer-
of a long, seamless legato. tain notated or interpretive effect, preventing its exaggeration

>j
Ex.: Beethoven, Symphony 3/i/280 • Use staggered bowings also and guaranteeing a polished timbre. If here some of the first

j ‰# œ œ œ # œ
on bowed-out notes in order to create subtle effects: players violins play across the strings, the passages will sound clearer,
       œ
Allegro q = 120

#
kk from

œ #œ œ œ #œ J ‰
should switch “all pizz.
down” to at different points in smoother, and probably, better tuned than if everybody fol-
Œ œ ‰ Œ Ó
AA +4 div.
c
3

&
order to make the transition very gradual. lows the instructions to play on the G string. Similarly, the
J
Verdi

Π>
Complementary-divisi
Otello I schemes open up a realm of infinite nu- passage in Ex. 5.11x will sound clearer if half the players leave

F
ances, especially in Romantic and late-Romantic music: out the grace notes.
Ex. 5.4h/39 • Half the section plays détaché to prevent the legato
notes from sounding fuzzy or unarticulated.

Allegro q = 100

## c .. .. . . .!. .!. .!. .!.

ll 11 +5

‰
arco leggero e molto stacc.

& ! ! œ! œ œ œ œ
vn. 1

œ ≈ œ ≈ ≈ ≈ ≈ ≈ ≈
Verdi

vn. 2 p
Falstaff I/i

pizz.

√II
Bewegt, doch nicht schnell [h = 63]

œ œ œ œ œ
œ œ div. trem. 1 œ #œ œ
mm
#### trem.1
œ
C‰ œ œ
@ @ @ ‰ @ @ @ @ @ @ @ @œ @ @ @
330
Bruckner
&
≤ ≤ ≤ ≤
Symphony 7/iv

ƒ Ï

©Martin Wulfhorst, The Orchestral Violinist’s Companion, 2012 (To order the book visit www.orch.info)